This show followed the interesting and entertaining US Fest appearance, on the way to the Florida shows. The Saenger was the site of the two '80 3-set shows, held in conjunction with the residencies at the Warfield and Radio City. It sits right on Canal Street, on the SW corner of the French Quarter, and holds just a couple thousand. The show is known for the wonderful Wheel; but for a long time only the SBD circulated, missing the encores and ½-Step Mississippi - now rectified. This was the start of a tour that would premiere both Touch and Throwing Stones, and iron out new songs Day Job and West LA. They only played Louisiana once more, in '88.
First Set. Jer muffs his place in Mississippi Half-Step, and the band has to feel it out to get going, warming up on Franklin's Tower, where Jer gives nice extra parts. Feel Like a Stranger is likewise: flubby with Jer making up for it on the end jam. West L.A. Fadeaway is just the third one, and still with the original lick and lyrics; though here Jer drops one of the solos that were on the 1st two versions. The rest are average '82, however the set ended suddenly, about 45min in, when Weir thought he was having too many equipment problems and abruptly left the stage during Althea. Regardless of his frustration, this is actually a fine Althea (he stops playing @4½min, returning briefly @5:20, then leaves). This brings out Brent and, uniquely, Jer heads to both rhythm figures and leads.
Second Set. Overall the set makes up for the 1st. Uncle John's has a nice tempo, but not full lyric agreement. Samson is a speed version - even after pitch correction. At this tempo Jer has to rely on some repeated phrasing, but the results are interesting and the band is getting hot. Estimated is cooler than the other side of the pillow; all sections are so solid and there's a long, hot jam into Eyes. The section coming out of Space really anticipates this standout Wheel. It's just awful good; long, too. When Blair J was asked to curate a disc for the "Jerry Garcia: The Collected Artwork" book, this was his '82 selection. The rest is smooth and above average, and the Good Lovin' is a classic Dead end-mood sender. Not a punchy version but still on the button. The double encore has a Day Job - only the 3rd one. Here you can really tell that it's essentially a US Blues rewrite (and has the early "tackle that job for all it's worth").
1st Set:  C-
2nd Set: B-
Overall = 3 stars
Highlights:
Estimated Prophet - the other side of the pillow
The Wheel - known as a top version
Good Lovin' - on the button
SOURCES: The miller_clugston_fixed_flac1648 is the first "complete" SBD (patched with the Streeter AUD). Though Space has a brief dropout near the beginning, the major problem is that (contrary to the description) it's pitched very fast, needing -3.25% adjustment for Mississippi, -3% for Franklin's, -2.5% for Stranger, and -2% for the rest of the 1st Set and the 2nd Set though Space. Wheel and Other One need -1.5%, and the rest need -2% except for JBG, whch needs -3%. The balance also needs intervention. The Wheel is on the CD that came with Jerry Garcia: The Collected Artwork (mastered at the wrong pitch). The beyerm160_streeter-miller is the original AUD, and it too runs way too fast (varying ~3-4%). The streeter_miller_ssirmick is that AUD with some issues fixed, but it's still 1-2% fast, and has a 36sec cut at the beginning of Space. The 134287_sbd_deemph source has better pitch than most sources, but with other issues.